Modern Drummer #001.pdf

FAMOUS DRUMMERS QUIZ

WIN A FREE ONE YEAR'S SUBSCRIPTION!

Name this famous drummer who played with the Count Basie Orchestra of 1940.

One year's free subscription to Modern Drummer magazine to the first 10 winning entries postmarked

before February 1, 1977.

Send your answer with return address to:

MODERN DRUMMER MAGAZINE

C/O FAMOUS DRUMMERS QUIZ

47 HARRISON STREET

NUTLEY, NEW JERSEY 07110

MD JANUARY 1977

Editor's

Overview

If you're a drum student, an aspiring

pro, a teacher, professional player, or

just a plain old drum enthusiast from

eight to eighty, Modern Drummer is

meant for you. Welcome to our inaug-

ural issue.

Drummers have long needed a voice

in the form of an intelligent publica-

tion encompassing all phases of the art,

and we hope to establish ourselves in

this and future issues, as a significant

force in the field of drum education,

and as a platform for the exchange of

ideas.

We're basically for the drummer

who's interested in growing as a music-

ian and in search of a source from which

he might draw some intelligent conclu-

sions. We hope to be that source by

staying abreast of the latest in styles,

artists, and equipment; by keeping the

pages of Modern Drummer as relevant

to the needs of todays drummer as

possible; and by keeping our fingers

firmly placed on the pulse of our fast

growing, ever changing industry. Our

publication will be free in spirit and

content, and since we have no stake in

any particular line or its endorsers, we

can afford to be completely represen-

tative and unbiased in our presentation

of artists and equipment.

The diversity of our column titles are

indicative of the scope of our magazine:

Jazz Drummers Workshop, Rock Per-

spectives, Driver's Seat, The Complete

Percussionist, Rudimental Symposium,

Show & Studio, etc. It is our hope and

belief that all drummers will find some-

thing of interest, and perhaps inspiration

through the pages of any one issue. We

will continue to publish the educational

thoughts of some of the most respected

and esteemed authorities of our era,

along with in-depth, enlightening inter-

views with some of the most influential

players, teachers, and experts in the

field.

We hope to represent all drum relat-

ed organizations in our advertising

pages, press releases, and special feature

sections. We openly invite correspond-

ence from all. We'd also like to hear

from you, the reader. Please, let's have

your comments and suggestions. We

think this issue contains some very

meaty reading for drummers, and we

hope you'll find it entertaining and in-

formative.

One final note. The path MD has fol-

lowed from original concept through

the research, planning, and preparation

stages, has involved a great deal of time

and effort on the part of many individ-

(continued page 21)

IN THIS

ISSUE

FEATURES:

View From The Top:

Exclusive Buddy Rich Interview

MD Shoppers Guide looks at

Ludwig, Sonor and Pearl

One-Thousand Year Old Duffy Jackson

Billy Cobham: Equipment Close-Up

Understanding Rhythm

COLUMNS:

It's Questionable

Rock Perspectives

Jazz Drummers Workshop

Rudimental Symposium

Strictly Technique

Drivers Seat

Complete Percussionist,

On The Job

Show and Studio

Shop Talk.

Printed Page

From The Past

Industry Happenings

Drum Soloist

Just Drums

EDITOR: Ronald Spagnardi

ASSOCIATE EDITOR: Paul Uldrich

MANAGING EDITOR: Michael Cramer

ART DIRECTOR: Robert Algieri

PRODUCTION MANAGER: Roger Elliston

ADVERTISING DIRECTOR: William F. Selig

CIRCULATION MANAGER: Nancy Schuller

READERS PLATFORM

The letters reprinted here are typical

of the hundreds we have received over

the past several months. We thank you,

one and all. Please continue to write

and tell us what you want to see in

MODERN DRUMMER. Tell us what

you like or don't like about the maga-

zine. We'll go to great lengths to give

you what you want and need. We can't

please everyone, but we'll try.

I'm very interested in your magazine.

Many of my friends and I have antici-

pated such vital reading for some time

now. If it is not too much trouble,

could you forward any back issues you

might have. I'm very interested.

EZRA ROCK

HEMPSTEAD, N. Y.

Thanks Ezra. Would if we could, but

Vol. 1, No. 1 = Back Issue 1.

Here's my check for four dollars. It's

about time we had our own magazine.

BUD HALLBERG

RENOVO, PA.

I have been wondering when someone

would come out with a magazine ex-

clusively for drummers. A magazine of

this nature is long overdue. I have been

playing drums for fifteen years, and

have found that to get relevant inform-

ation on my subject area, I had to dig

and scrape through endless piles of

music publications. I am hoping that

with the advent of this publication,

those days will be over. I am waiting

with rapt anticipation for my first

issue. Good luck with your magazine.

MICHAEL POWERS

OAKLAND, CALIF.

Enclosed is my subscription for one

year. Ever since I first saw Guitar Player

and Contemporary Keyboard, I have

been waiting for a publication such as

yours. Being a progressive rock drum-

mer in my early 20's, I am looking for-

ward to your magazine to keep me in-

formed on what is going on in modern

percussion.

HAROLD KITZMAN

WEST PITTSTON, PA.

Modern Drummer sounds like an excel-

lent idea, one which I have been long

awaiting. I congratulate and thank you,

and wish you the best of luck. Our shop

has an interest in antique drums and

we'd love to see a series of articles ap-

proaching this subject. Best of luck

again.

I've been waiting a long time for this

kind of publication to come into exist-

ence. I've been involved with drums

and percussion for the last 19 years as

both student and player. To my knowl-

edge, your magazine is unique among

music publications for its concentration

on the fine art of drumming. Bass play-

ers have their own rag; guitarists have a

choice from among several pieces of

pop-literature. It's about time we had

something for drummers, who, contrary

to popular belief, are not illiterate! I

wish you much success on your venture.

This is the best thing that's happened to

literature concerning the art of percus-

sion in a long time.

TREVOR DA VIS, JR.

CHARLIE DONNELLY'S

DRUM CENTRE

NEWINGTON, CONN.

We hear you Trev. We've received sev-

eral requests for this kind of thing and

we're working on it. Look for it in the

near future.

JACK WATERS

CINCINNATI, OHIO

Please enter our subscription to your

quarterly magazine. It's great someone

is taking the initiative on educational

percussion. Let us know if we might be

able to help in any way.

DROSTE'S DRUM DEN

BILLINGS, MONTANA

I am glad someone has started to put

out a magazine just for drummers.

Thanks a lot.

MARK HILLKIRK

CARLTON.PA.

IT'S QUESTIONABLE

by CHARLES McKAY

Q. I am contemplating purchase of a 5 piece plastic shell set.

Your opinion please of the plastic equipment.

Q. I am beginning the study of timpani. What type of mal-

lets would you recommend starting out with?

J. R.

PITTSBURGH, PA.

A. Plastic shells are attractive and offer a unique tonal qual-

ity. It is basically a hard, well defined sound, with sharp and

powerful response, somewhat different from wood shells.

Plastic shells are good for all types of situations, but espe-

cially well-suited for rock work. Choices in equipment should

always be made on the basis of individual needs.

Q. I am a semi-professional player and have difficulty main-

taining a consistent level of playing through an evening. By

the final hour I'm really beat. Everything seems to come out

sloppy and uneven. What to do?

B. T.

MANSFIELD, MASS.

A. Purchase an assortment of three or four varied pairs of

hard and soft felts and experiment with each. You'll get a

better idea of which types and styles best suit your playing,

and at the same time you'll be exposed to the many types

available for the varied musical requirements that you're al-

most certain to run up against.

Q. I've been looking for a hi-hat stand which has a toe-

activated device for keeping the cymbals in a closed position.

Where can I find it?

R. A.

LEXINGTON, KY.

A. This is not an uncommon problem. Visit a competent

teacher who should set you up in an endurance development

program which will strengthen the muscles to a point where

they will not tire out early. As endurance increases, so does

consistency in performance. It is up to you once this higher

stamina level has been reached, to stay in shape through daily

practice sessions. Any lengthy layoff will have a noticeable

effect. If you decide to go it alone, check out George L.

Stones, "Stick Control", and follow the directions to the

letter.

Q. How high should crash cymbals be set?

K. F.

SANTA FE, N. M.

A. The item you are talking about is called the "Rock-

Lok" and is available from Pearl, c/o Norlin Co., 7373 Cicero

Ave., Lincolnwood, Illinois.

Q. I plan to play professionally and would like to use double

bass drums. What is your opinion of double bass drum set-ups?

T. C.

SUN VALLEY, IDAHO

A. Inventive double bass drum playing can be very effective.

Double bass set-ups are excellent for solo work and for intri-

cate rhythmic patterns, which cannot be executed on one

bass. To be truly effective with two bass drums, the player

should acquire speed, dexterity, and control with both feet.

Two fine studies are Louie Bellson's "Progressive Studies for

Double Bass Drums"published by Try Publishing, Hollywood,

California, and Joel Rothmans, "Double Bass", JR Publica-

tions, New York.

Q. I have just purchased a new 22" ride cymbal and the over-

tones are very heavy. What can I do?

G. S.

ORLANDO, FLA.

A. A general rule of thumb is eye level, however there are

many variables here. Cymbal height is really a matter of per-

sonal taste and should be set accordingly. There is no such

thing as, "the correct height". Set your crash cymbals at a

height which is comfortable for you and which enables you

to get from drum to cymbal, or cymbal to cymbal with the

most ease and comfort.

S. V.

MELVERN, ARK.

A. Try masking tape on the underside of the cymbal in stra-

tegic spots. Use as much as necessary to cut down on the ex-

cess ring. Predominant overtones are common in new cymbals

and will subside as the cymbal breaks in.

Q. I am an instrumental music teacher and would like to ob-

tain a good, simplified source book on percussion instruments.

Can you recommend something?

P. R.

BISHOP, CAL.

A. The idea is to cut out as much head vibration and over-

tone as possible. Some of the more common practices we've

heard of are, the use of mufflers on inside and outside bass

heads; stuffing the bass with shredded newspaper one half to

three quarters full; filling the bass with flannel blankets or

large fluffy pillows. Also use a thin felt, or hard wood beater.

Q. I have been playing rock for 5 years. Lately, I have de-

veloped a strong interest in jazz style playing but am having

trouble making the transition musically. What do you sug-

gest?

A. H.

NEW YORK, N. Y.

A. We highly recommend "The Music Educators Guide to

Percussion" by Al Payson and Jack McKenzie, published by

Belwin-Mills. Melville, N. Y.

Q. Should I practice more on the drums or on the pad?

L. W.

ODESSA, TEXAS

A. This question has been, and probably will continue to be a

controversial matter amongst teachers and players alike. Our

opinion? An equal amount on each. Pad practice is fine for a

close-up of balance, preciseness and control, however, practice

on the drum is very essential, since it is here where one does

his actual playing. A great middle of the road answer, is the

Practice Pad Drum Set manufactured by Remo, Inc., of Holly-

wood, California, which gives you the best of both worlds.

S. I.

LANSING, MICH.

A. Find a competent teacher who specializes in this area

where you'll be exposed to the complexities of coordinated

independence, phrasing, solo styles, etc... Begin a careful

and conscientious listening program immediately; try to

acquaint yourself with the many varied styles and stylists

within the idiom. Listen analytically. Practice hard. (See

Jazz Drummers Workshop by Lenny Rothbart, this issue).

Q. How can I get that tight, dry sound on my bass drum that

I hear so much of today? I can't seem to capture that same

quality.

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